confidently affirmed that no man becomes an enthusiast in religion, until he has forgotten that he is a transgressor—a transgressor reconciled to God by mediation. But when, either by the refinements of rationalism—a gross misnomer—or by superstitious corruptions, the central facts of Christianity have become obscured, no middle ground remains between the apathy of formality and the extravagance of enthusiasm. The substance of religion is gone, and its ceremonial only remains—remains to disgust the intelligent, and to delude the simple. This momentous principle is strikingly displayed in the construction of the Romish worship. That false system assumes the great business of pardon and reconciliation with God to be a transaction that belongs only to priestly negotiation; and as forgiveness has its price, and the priest is at once the appraiser of the offence, and the receiver of the mulct, it would be an intrusion upon his function, an interference that must derange his balances, for the transgressor to act on his own behalf, or ever to inquire what passes between the authorized agent of mercy, and the court of heaven. No room, then, is left in this system for the great and central subject of all devotional exercises. The doctrine of pardon having been cut off from worship, worship becomes unsubstantial. The expiatory death and availing intercession of the Son of God are taken within the rail of sacerdotal usurpation; and of necessity, if Jesus Christ is at all to be set forth "crucified before the people," it can only be as an object of dramatic exhibition. This is the secret of the popish magnificence of worship. Music, and painting, and pantomime, and a tinsel declamation, must do their several parts to disguise the subduction of the essentials of devotion. The laity, having nothing to transact with God, must be amused and beguiled, "lest haply the gospel of his grace" should enter the heart, and so the trading intervention of the priest be superseded. The great purpose of the Romish worship, which is to preclude all genuine feelings by substituting the enthusiasm of the imagination, is accomplished, it must be confessed, with consummate skill, and a just knowledge of the human mind. The end proposed will, manifestly, be best attained when the emotions which spring from the imagination are made to resemble as nearly as possible those that belong to the heart. The nicest imitation will be the most successful in this machinery of delusion. Hence it is, that while all those means of excitement are employed which quicken the physical sensibilities, the deeper sensibilities of the soul are also addressed, and yet always by the intervention of dramatic or poetic images. A plain and undisguised appeal to the heart is unknown to the system.